In times of national anxiety, many of us take comfort in the fact that the U.S. has endured political crises even more severe than those at hand. History can be a teacher and a guide, and so too can poetry, as Walt Whitman reminds us again and again. Whitman witnessed some of the greatest upheavals and revolutionary changes the country has ever experienced: the Civil War and its aftermath, the assassination of Abraham Lincoln, the failure of Reconstruction, the massive industrialization of the country at the end of the 19th century....

Perhaps this is why we return to Whitman when we make what critics call a “poetic turn." His expansive, multivalent verse speaks for us when beauty, shock, or sadness exceed the limits of everyday language. Whitman contained the nation’s warring voices, and somehow reconciled them without diluting their uniqueness. This was, indeed, his literary mission, to “create a unified whole out of disparate parts,” argues Karen Swallow Prior at The Atlantic. “For Whitman, poetry wasn’t just a vehicle for expressing political lament; it was also a political force in itself.” Poetry’s importance as a binding agent in the fractious, fragile coalition of states, meant that for Whitman, the country’s “Presidents shall not be their common referee so much as their poets shall.”

Whitman wrote as a gay man who, by the time he published the first edition of Leaves of Grass in 1855, had gone from being an “ardent Free-Soiler” to fully supporting abolition. His poetry proclaimed a “radically egalitarian vision,” writes Martin Klammer, “of an ideal, multiracial republic.” A country that was, itself, a poem. “The United States themselves are essentially the greatest poem,” wrote Whitman in his preface. The nation’s contradictions inhabit us just as we inhabit them. The only way to resolve our differences, he insisted, is to embody them fully, with openness toward other people and the natural world. Understanding Whitman’s mission makes filmmaker Jennifer Crandall’s project Whitman, Alabama all the more poignant.

For two years, Crandall “crisscrossed this deep Southern state, inviting people to look into a camera and share part of themselves through the words of Walt Whitman.” To the question “Who is American?,” Crandall---just as Whitman before her---answers with a multitude of voices, weaving in and out of a collaborative reading of the epic “Song of Myself,” beginning with 97-year-old Virginia Mae Schmitt of Birmingham, at the top, who reads Whitman’s lines, “I, now thirty-seven years old in perfect health begin / Hoping to cease not till death.” No one watching the video, Crandall remarks, should ask, “Why isn’t’ a thirty-seven year old man reading this?” To do so is to ignore Whitman’s design for the universal in the particular.

When Whitman penned the first lines of “Song of Myself,” the country had not yet “Unlimber’d” the cannons “to begin the red business,” as he would later write, but the 1850 Fugitive Slave Act had clearly lain the foundation for civil war. The poet's many revisions, additions, and subsequent editions of Leaves of Grass after his first small run in 1855 continued until his death in 1892. He was obsessed with the hugeness and dynamism of the country and its people, in their darkest, bloodiest moments and at their most flourishing. His vision lets everyone in, without qualification, constantly rewriting itself to meet new faces in the ever-changing nation.

As Mariam Jalloh, a 14-year old Muslim girl from Guinea, recites in her short portion of the reading further up, “every atom belonging to me as good belongs to you.” Jollah quite literally makes Whitman’s language her own, translating into her native Fulani the line, “If they are not just as close as they are distant, they are nothing.” Jalloh “may seem like a surprising conduit for the writing of Whitman, a long-dead queer socialist poet from Brooklyn,” writes Christian Kerr at Hyperallergic, “but such incongruity is the active agent in Whitman, Alabama’s therapeutic salve.” It is also, Whitman suggested, the matrix of American democracy.

See more readings from the project above from Laura and Brandon Reeder of Cullman, the Sullivan family of Mobile, and by Demetrius Leslie and Frederick George, and Patricia Marshall and Tammy Cooper, inmates at mens’ and womens’ prisons in Montgomery. Whitman’s voice winds through these bodies and voices, settling in, finding a home, then, restless, moving on, inviting us all to join in the chorus, yet also—in its contrarian way—telling us to find our own paths. “You shall no longer take things at second or third hand....,” wrote Whitman, “nor look through the eyes of the dead, nor feed on the spectres in books, / You shall not look through my eyes either, nor take things from me, / You shall listen to all sides and filter them from yourself.”

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